Nicholas Economos is an artist and educator living in sunny Cleveland, Ohio, USA. His art practice includes work in software art, reactive media art, sound, video, and animation. He is an Editor Emeritus for Rhizome.org at The New Museum of Contemporary Art in NYC, previously editing content for the web site and the Rhizome Rare email list over numerous years. His awards include an Individual Artist Project Grant in Film, Media, and New Technology Production from the New York State Council on the Arts and an Individual Excellence Award in Media Arts from the Ohio Arts Council.

He has exhibited at Art Interactive in Cambridge, MA, Hallwalls Contemporary Art Center in Buffalo, NY, Art in General in New York City, Fylkingen in Stockholm, Contemporary Arts Center in Cincinnati, SESI Gallery in Sao Paulo City, Window Project Space in Auckland, New Zealand, Visual Studies Workshop in Rochester, Chiangmai New Media Art Festival in Thailand, DigiFest DXNet in Toronto, and the Cyberarts Festival in Boston. He has been a frequent artist-in-residence at the Experimental Television Center in Owego, New York and is included in the DVD anthology, "ETC: 1969 - 2009" covering 40 years of video arts at ETC. He was previously a visiting professor with the Department of Expanded Media at the School of Art and Design at Alfred University in Alfred, NY and now teaches in the T.I.M.E.-Digital Arts Department at The Cleveland Institute of Art.

MC: I'd like to begin by exploring your use of the "cut-out" in some of your most well known works. I've been covering your Buff series in various new media related courses for a couple of years now, and several questions and points of discussion are frequently raised. Can you speak first about the dichotomy of absence/presence at work in these pieces: How do you wish this dichotomy to play out for your audience, and what role does the content of the original image play in this scenario?

CC: If I may, I’d like to dissect the viewing experience into three “effects” which the cut-out generates. The “first effect” is the immediate recognition of the void; a mere observation, not an intellectual reaction, per se. The second effect is “the abstract effect,” which would be any subsequent intellectual activity for the viewer. This sets up an ideal and final “reflexive effect”.

The catalyst for the reaction is expectation. Because we expect nudity (in the Buff series) the suggestive poses of the subject and the conditioned responses of the viewer confront the void. This disconnect of what is expected with what is actually there has a variety of reactions in viewers. After digesting the experience, however, the question of what has happened occurs. This question, a momentary wedge in a normal viewing experience, sets up the “abstract effect”. The viewer is questioning the nature of this particular type of imagery as well as the effect of imagery in general on the ...

The Center for Advanced Visual Studies presents
Terminal Air (Institute for Applied Autonomy and Trevor Paglen)

Tad Hirsch (Institute for Applied Autonomy) and experimental
geographer Trevor Paglen will present early research for their new
project, Terminal Air, an interactive installation that enables
audiences to track a fleet of CIA-operated aircraft around the
world. These airplanes, which were first uncovered by an
international network of amateur aviation enthusiasts and later
reported on by various investigative journalists, are known to be
involved in "extraordinary rendition"—the practice of illegally
transporting terrorism suspects to secret overseas military bases
for torture and interrogation. Paglen will also talk about Torture
Taxi: On the Trail of the CIA's Rendition Flights, which he co-
wrote with journalist AC Thompson. Andrew Woods of Harvard Law
School will also speak. Terminal Air is supported by 2006-2007
commission from Rhizome.org.
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The Junction in Cambridge, UK, is seeking to commission an artist (individual or collective) to produce an innovative and exciting high profile public artwork encompassing new technologies for the south façade of its original auditorium. This is the second of two commissions funded by Turnstone Partners and Arts Council England East for the site, the first being Bins and Benches by Greyworld in 2005.

Expressions of interest are invited from artists, to be received before the 1st October 2006.

The budget for this commission is £60,000 (to include fee, production and installation costs). For more information, including a detailed brief, please see www.junction.co.uk/publicart

ROULETTE IS THRILLED TO ANNOUNCE OUR MOVE INTO OUR NEW HOME: 20 GREENE STREET in SOHO. With this new space, Roulette will be expanding activities to include over 100 concerts, sound installations, longer runs of music theater and other large productions such as the “Avant Jazz – Still Moving” festival and the annual “Festival of Mixology.” For our expanded events calendar go to: http://www.roulette.org/

Peeesseye: Jaime Fennelly, Chris Forsyth & Fritz WelchPeeesseye is a collaborative project developed in 2002 in Brooklyn by Jamie Fennelly, Chris Forsyth and Fritz Welch that performs music/noise/sound work. Peeesseye explores the boundaries of instruments and the acoustical space they inhabit. The group’s collective compositions and improvisations use analogue electronics, oscillators, vocals, guitars, and percussion instruments. Since 2002, Peeesseye has toured the U.S. four times and Europe once and has released four CDs. Recent venues include Tonic, Harvestworks and the Improvised and Otherwise Festival.
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as most of you know, the tank is a nonprofit performing arts space in lower manhattan. we believe in maintaining a space for artists in manhattan where they can perform and explore without feeling the financial pressures that manhattan increasingly brings.We have been in our new home in Tribeca with Collective:Unconscious for almost a year now (!) and it is so nice to not be writing you all on a weekly basis telling you we are losing our home, like we had to do for the first few years of existence.However, we are still struggling to get by in the big city. But we dont plan on staying that way! oh no.

To that end, we are proud to be launching our Freedom of Expression Campaign. The goal is to raise $100,000 over the next few months to help us secure our somewhat tenuous foothold on the big apple, increase and stabilize our administrative staff, and continue bringing you fantastic, affordable programming for the years to come.

SO HERES HOW IT WORKSwe have secured a few amazing patrons who are collectively willing to donate $65,000 IF (and yes, this here is THE RUB) IF we are able to get 1,000 additional individual donations. Thats right, if 1,000 of our friends, artists, and loved ones donate even $12 to the tank this year, then these donors will unlock the $65,000 they have pledged and we will reach our goal. they want to see that we are loved. can you show them we are loved? yes, you can!PRETTY NEAT, YES? YES!

But 1000 people is a lot. ive only got like 14 myspace friends and that includes Tom, so thats just not gonna cut it.

so weve got a website. you can go there now and donate any amount of money, become a tank member, get some free stuff in exchange, and generally know youve done your part in securing the future of a place you care about.

YOU CAN EVEN SETUP A MONTHLY DONATION OF $1 ON YOUR CREDIT CARD.WOULD YOU EVEN NOTICE AN EXTRA $1 ON YOUR CREDIT CARD STATEMENT EACH MONTH? NO, YOU WOULD PROBABLY NOT!

READY? Just do it right now while you're thinking about it. Think how good it will feel!! IT WILL FEEL GREAT!

Thanks folks. and if the tank is a place you care about or has been good to you, please consider spreading the word and letting people know...stick it on your blog or your myspace page or whatever. Thanks Thanks Thanks!

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UPCOMING SHOWS AND EVENTS

Tonight and Tomorrow Night (thats wed 11/15 and thurs 11/16) we are having happy hour / mixer events in our basement lounge. cheap booze and lots of good people. come after work and say hey. also a convenient place/time to donate in person if you'd rather give cash...

hi John,the thumbnail was sampled from the cover of DeLanda's "A Thousand years of Nonlinear History" and reduced in a GIF color table.nicholas

John Geraci wrote:

> DeLanda's piece shown here is visually pretty similar to a piece I> submitted to Rhizome a few years ago. > (http://rhizome.org/object.rhiz?9436). Does anyone have more info on> it?> > John Geraci> ITP, NYU > > > > Jennifer Estaris wrote:> > > COLUMBIA ART & TECHNOLOGY LECTURES> > > > Manuel DeLanda> > Thursday, April 8, 2004, 6pm> > LeRoy Neiman Gallery, 310 Dodge Hall> > Columbia University, New York, NY> > > > Free and open to the public > > > > Manuel DeLanda was born in 1952 in Mexico City and has lived in> > Manhattan since 1975. He began his career in the mid-seventies as an> > independent filmmaker, showing his films in cine-clubs and museums> > around the world. In 1980 he acquired an industrial-grade computer> and> > became a programmer and computer artist, writing his own software> for> > several years. His philosophical essays have appeared in many> journals> > and he currently lectures extensively in the United States and> Europe> > on nonlinear dynamics, theories of self-organization, Artificial> > Intelligence and Artificial Life. He is author of the books War in> the> > Age of Intelligent Machines, A Thousand years of Nonlinear History> and> > Intensive Science and Virtual Philosophy. He has contributed to> > numerous collections, including A Thousand Plateaus by G. Deleuze> and> > F. Guattari, and Ecological Imperialism by Alfred Crosby and> > Self-Organizing Systems, edited by Eugene Yates.> > > > The Art & Technology Lectures will culminate with Ricardo Dominguez,> a> > tactical media artist, on May 12. > > > > For more information, see> > http://www.columbia.edu/cu/arts/dmc/docs/lectureseries.html> > Or email art-tech-lecture@music.columbia.edu> > > > Co-presented by the Digital Media Center and Computer Music Center> at> > Columbia University

joy,yes, i agree...I really don't have a simple thought that doesn't involve appropriation or sampling on some level. your painting and the photograph involve both but are different resolutions. Refusing that doesn't have to be a generational thing, as in when you were born or what sort of music you have been exposed to. Being able to accept it may be a bent of mind that is reinforced from being creative with a computer though, i hope so, but unfortunately the person suing you hasn't been bitten by that yet.nicholas